William Butler Yeats

 

 

The Autumn of the Flesh

 

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Our thoughts and emotions are often but spray flung up from hidden tides that follow a moon no eye can see. I remember that when I first began to write I desired to describe outward things as vividly as possible, and took pleasure, in which there was, perhaps, a little discontent, in picturesque and declamatory books. And then quite suddenly I lost the desire of describing outward things, and found that I took little pleasure in a book unless it was spiritual and unemphatic. I did not then understand that the change was from beyond my own mind, but I understand now that writers are struggling all over Europe, though not often with a philosophic understanding of their struggle, against that picturesque and declamatory way of writing, against that "externality" which a time of scientific and political thought has brought into literature. This struggle has been going on for some years, but it has only just become strong enough to draw within itself the little inner world which alone seeks more than amusement in the arts. In France, where movements are more marked, because the people are pre-eminently logical, "The Temptation of S. Anthony," the last great dramatic invention of the old romanticism, contrasts very plainly with "Axel," the first great dramatic invention of the new; and Maeterlinck has followed Count Villiers De L'Isle Adam. Flaubert wrote unforgettable descriptions of grotesque, bizarre, and beautiful scenes and persons, as they show to the ear and to the eye, and crowded them with historic and ethnographical details; but Count Villiers De L'Isle Adam swept together, by what seemed a sudden energy, words behind which glimmered a spiritual and passionate mood, as the flame glimmers behind the dusky blue and red glass in an Eastern lamp; and created persons from whom has fallen all even of personal characteristic except a thirst for that hour when all things shall pass away like a cloud, and a pride like that of the Magi following their star over many mountains; while Maeterlinck has plucked away even this thirst and this pride and set before us faint souls, naked and pathetic shadows already half vapour and sighing to one another upon the border of the last abyss. There has been, as I think, a like change in French painting, for one sees everywhere, instead of the dramatic stories and picturesque moments of an older school, frail and tremulous bodies unfitted for the labour of life, and landscape where subtle rhythms of colour and of form have overcome the clear outline of things as we see them in the labour of life.

There has been a like change in England, but it has come more gradually and is more mixed with lesser changes than in France. The poetry which found its expression in the poems of writers like Browning and of Tennyson, and even of writers, who are seldom classed with them, like Swinburne, and like Shelley in his earlier years, pushed its limits as far as possible, and tried to absorb into itself the science and politics, the philosophy and morality of its time; but a new poetry, which is always contracting its limits, has grown up under the shadow of the old. Rossetti began it, but was too much of a painter in his poetry to follow it with a perfect devotion; and it became a movement when Mr. Lang and Mr. Gosse and Mr. Dobson devoted themselves to the most condensed of lyric poems, and when Mr. Bridges, a more considerable poet, elaborated a rhythm too delicate for any but an almost bodiless emotion, and repeated over and over the most ancient notes of poetry, and none but these. The poets who followed have either, like Mr. Kipling, turned from serious poetry altogether, and so passed out of the processional order, or speak out of some personal or spiritual passion in words and types and metaphors that draw one's imagination as far as possible from the complexities of modern life and thought. The change has been more marked in English painting, which, when intense enough to belong to the procession order, began to cast out things, as they are seen by minds plunged in the labour of life, so much before French painting that ideal art is sometimes called English art upon the Continent.

I see, indeed, in the arts of every country those faint lights and faint colours and faint outlines and faint energies which many call "the decadence," and which I, because I believe that the arts lie dreaming of things to come, prefer to call the autumn of the flesh. An Irish poet whose rhythms are like the cry of a sea-bird in autumn twilight has told its meaning in the line, "The very sunlight's weary, and it's time to quit the plough." Its importance is the greater because it comes to us at the moment when we are beginning to be interested in many things which positive science, the interpreter of exterior law, has always denied: communion of mind with mind in thought and without words, foreknowledge in dreams and in visions, and the coming among us of the dead, and of much else. We are, it may be, at a crowning crisis of the world, at the moment when man is about to ascend, with the wealth, he has been so long gathering, upon his shoulders, the stairway he has been descending from the first days. The first poets, if one may find their images in the Kalevala, had not Homer's preoccupation with things, and he was not so full of their excitement as Virgil. Dante added to poetry a dialectic which, although he made it serve his laborious ecstasy, was the invention of minds trained by the labour of life, by a traffic among many things, and not a spontaneous expression of an interior life; while Shakespeare shattered the symmetry of verse and of drama that he might fill them with things and their accidental relations to one another.

Each of these writers had come further down the stairway than those who had lived before him, but it was only with the modern poets, with Goethe and Wordsworth and Browning, that poetry gave up the right to consider all things in the world as a dictionary of types and symbols and began to call itself a critic of life and an interpreter of things as they are. Painting, music, science, politics, and even religion, because they have felt a growing belief that we know nothing but the fading and flowering of the world, have changed in numberless elaborate ways. Man has wooed and won the world, and has fallen weary, and not, I think, for a time, but with a weariness that will not end until the last autumn, when the stars shall be blown away like withered leaves. He grew weary when he said, "These things that I touch and see and hear are alone real," for he saw them without illusion at last, and found them but air and dust and moisture. And now he must be philosophical above everything, even about the arts, for he can only return the way he came, and so escape from weariness, by philosophy. The arts are, I believe, about to take upon their shoulders the burdens that have fallen from the shoulders of priests, and to lead us back upon our journey by filling our thoughts with the essences of things, and not with things. We are about to substitute once more the distillation of alchemy for the analyses of chemistry and for some other sciences; and certain of us are looking everywhere for the perfect alembic that no silver or golden drop may escape. Mr. Symons has written lately on M. Mallarmé's method, and has quoted him as saying that we should "abolish the pretension, æsthetically an error, despite its dominion over almost all the masterpieces, to enclose within the subtle pages other than — for example — the horror of the forest or the silent thunder in the leaves, not the intense dense wood of the trees," and as desiring to substitute for "the old lyric afflatus or the enthusiastic personal direction of the phrase" words "that take light from mutual reflection, like an actual trail of fire over precious stones," and "to make an entire word hitherto unknown to the language" "out of many vocables." Mr. Symons understands these and other sentences to mean that poetry will henceforth be a poetry of essences, separated one from another in little and intense poems. I think there will be much poetry of this kind, because of an ever more arduous search for an almost disembodied ecstasy, but I think we will not cease to write long poems, but rather that we will write them more and more as our new belief makes the world plastic under our hands again. I think that we will learn again how to describe at great length an old man wandering among enchanted islands, his return home at last, his slow gathering vengeance, a flitting shape of a goddess, and a flight of arrows, and yet to make all of these so different things "take light by mutual reflection, like an actual trail of fire over precious stones," and become "an entire word," the signature or symbol of a mood of the divine imagination as imponderable as "the horror of the forest or the silent thunder in the leaves."

 

 

 

 

Erstdruck und Druckvorlage

Daily Express [Dublin].
1898, 3. Dezember, Second Edition, S. 3.

Gezeichnet: W. B. YEATS.

Die Textwiedergabe erfolgt nach dem ersten Druck (Editionsrichtlinien).


The British Newspaper Archive
URL: https://www.britishnewspaperarchive.co.uk/

 

 

Aufgenommen in

 

Kommentierte Ausgabe

 

 

 

Werkverzeichnis


Verzeichnis

Wade, Allan: A Bibliography of the Writings of W. B. Yeats.
3. Aufl. London: Hart-Davis 1968.



Yeats, William Butler:The Death of Oenone.
In: The Bookman (London).
Bd. 3, 1892, Nr. 15, Dezember, S. 84.

Yeats, William Butler: The Message of the Folk-lorist.
In: The Speaker.
Bd. 8, 1893, 19. August, S. 188-189.

Yeats, William Butler: A Symbolical Drama in Paris.
In: The Bookman (London).
Bd. 6, 1894, Nr. 31, April, S. 14-16.

Yeats, William Butler: Irish National Literature. Contemporary Prose Writers.
In: The Bookman (London).
Bd. 8, 1895, Nr. 47, August, S. 138-140.

Yeats, William Butler: Irish National Literature. III. Contemporary Irish Poets.
In: The Bookman (London).
Bd. 8, 1895, Nr. 48, September, S. 167-170.

Yeats, William Butler: Verlaine in 1894.
In: The Savoy. An Illustrated Quarterly.
1896, Nr. 2, April, S. 117-118.
URL: https://archive.org/details/savoy01symo

Yeats, William Butler: William Blake.
In: The Bookman (London).
Bd. 10, 1896, Nr. 55, April, S. 21.

Yeats, William Butler: William Blake and His Illustrations to the Divine Comedy.
In: The Savoy. An Illustrated Monthly.
1896:
Nr. 3, Juli, S. 41-57.
Nr. 4, August, S. 25-41.
Nr. 5, September, S. 31-36.
URL: https://archive.org/details/savoy02symo
Aufgenommen
W. B. Yeats: Ideas of Good and Evil. London: Bullen 1903, S. 176-225.
URL: http://catalog.hathitrust.org/Record/001189128

Yeats, William Butler: Mr. Arthur Symons' New Book.
In: The Bookman (London).
Bd. 12, 1897, Nr. 67, April, S. 15-16.

Yeats, William Butler: Academy Portraits. XXXII. – William Blake.
In: The Academy. A Weekly Review of Literature, Science, and Art.
1897, 19. Juni, S. 634-635. [PDF]
Aufgenommen
W. B. Yeats: Ideas of Good and Evil. London: Bullen 1903,
S. 168-175 (u.d.T. "William Blake and the Imagination").
URL: http://catalog.hathitrust.org/Record/001189128

Yeats, William Butler: Introduction.
In: A Book of Images, Drawn by W.T. Horton & Introduced by W.B. Yeats.
London: Unicorn Press 1898, S. 7-16.
URL: https://archive.org/details/bookofimagesdraw00hortuoft
Aufgenommen in:
W. B. Yeats: Ideas of Good and Evil. London: Bullen 1903,
S. 226-236 (u.d.T. "Symbolism in Painting").
URL: http://catalog.hathitrust.org/Record/001189128

Yeats, William Butler: John Eglinton and Spiritual Art.
In: Daily Express (Dublin).
1898, 29. Oktober, Second Edition, S. 3.

Yeats, William Butler: The Autumn of the Flesh.
In: Daily Express (Dublin).
1898, 3. Dezember, Second Edition, S. 3.

Yeats, William Butler: The Wind Among the Reeds.
London: Mathews 1899.
URL: https://archive.org/details/windamongreeds00yeatrich

Yeats, William Butler: The Literary Movement in Ireland.
In: North American Review.
Bd. 169, 1899, Nr. 517, Dezember, S. 855-867.

Yeats, William Butler: The Symbolism of Poetry.
In: The Dome.
An Illustrated Magazine and Review of Literature, Music, Architecture, and the Graphic Arts.
N.S., Jg. 6, 1900, April, S. 249-257.

Yeats, William Butler: Ideas of Good and Evil.
London: Bullen 1903.
URL: http://catalog.hathitrust.org/Record/001189128
URL: https://archive.org/details/ideasofgoodevil00yeatrich  [Second Edition 1903]

Yeats, William Butler: The Philosophy of Shelley's Poetry.
In: William Butler Yeats: Ideas of Good and Evil.
London: Bullen 1903, S. 90-141.

Yeats, William Butler: Poems, 1899-1905.
London: Bullen; Dublin: Maunsel 1906.
URL: https://catalog.hathitrust.org/Record/001776370
URL: https://archive.org/details/poems01yeatgoog

Yeats, William Butler: Poems.
London: T. Fisher Unwin 1912.
URL: https://catalog.hathitrust.org/Record/009025212
URL: https://archive.org/details/yeatspoems00yeatrich

Yeats, William Butler: The Cutting of an Agate.
New York: The Macmillan company 1912.
URL: https://catalog.hathitrust.org/Record/001195035
URL: https://archive.org/details/cuttingofagate00yeat




Yeats, William Butler: Essays and Introductions.
London: Macmillan and C. 1961.

Yeats, William Butler: The Collected Letters of W. B. Yeats.
Edited by John Kelly u.a.
Oxford: Clarendon Press; New York: Oxford University Press.
Bd. 1ff. 1986ff.

Yeats, William Butler: Die Gedichte.
Hrsg. von Norbert Hummelt.
Übers. von Marcel Beyer u.a.
München: Luchterhand 2005.

Larrissy, Edward (Hrsg.): The First Yeats.
Poems by W.B. Yeats, 1889 – 1899.
Manchester: FyfieldBooks 2010.

 

 

 

Literatur

Brandmeyer, Rudolf: Poetiken der Lyrik: Von der Normpoetik zur Autorenpoetik. In: Handbuch Lyrik. Theorie, Analyse, Geschichte. Hrsg. von Dieter Lamping. 2. Aufl. Stuttgart 2016, S. 2-15.

Ducrey, Guy: Le passeur du symbolisme français, Arthur Symons. In: 'Curious about France'. Visions littéraires victoriennes. Hrsg. von Ignacio Ramos Gay. Bern u.a. 2015, S. 137-152.

Fogarty, Anne: Yeats, Ireland and modernism. In: The Cambridge Companion to Modernist Poetry. Hrsg. von Alex Davis. Cambridge u.a. 2007, S. 126-146.

Gould, Warwick: Yeats and Symbolism. In: The Oxford Handbook of Modern Irish Poetry. Hrsg. von Fran Brearton u.a. Oxford 2012, S. 20-41.

Haughton, Hugh: The Irish Poet as Critic. In: The Oxford Handbook of Modern Irish Poetry. Hrsg. von Fran Brearton u. Alan Gillis. Oxford 2012, S. 513-533.

Howes, Marjorie u.a. (Hrsg.): The Cambridge Companion to W. B. Yeats. Cambridge u.a. 2006.

Lipking, Lawrence: Poet-critics. In: The Cambridge History of Literary Criticism. Bd. 7: Modernism and the New Criticism. Hrsg. von A. Walton Litz. Cambridge u.a. 2000, S. 439-467.

Longley, Edna: Yeats and Modern Poetry. New York 2013.

Marcus, Laura u.a. (Hrsg.): Late Victorian into Modern. Oxford 2016.

Warner, Eric / Hough, Graham (Hrsg.): Strangeness and Beauty. An Anthology of Aesthetic Criticism 1840–1910. 2 Bde. Cambridge u.a. 2009.

Query, Patrick: "The shoulders of priests": Yeats and the Irish Limits of Symbolism. In: Yeats Eliot Review 20,2 (2003), S. 18-28.

 

 

Edition
Lyriktheorie » R. Brandmeyer